Playing Shakespeare: An Actor's GuideKnopf Doubleday Publishing Group, 10 Nov 2010 - 288 halaman Playing Shakespeare is the premier guide to understanding and appreciating the mastery of the world’s greatest playwright. Together with Royal Shakespeare Company actors–among them Patrick Stewart, Judi Dench, Ian McKellen, Ben Kingsley, and David Suchet–John Barton demonstrates how to adapt Elizabethan theater for the modern stage. The director begins by explicating Shakespeare’s verse and prose, speeches and soliloquies, and naturalistic and heightened language to discover the essence of his characters. In the second section, Barton and the actors explore nuance in Shakespearean theater, from evoking irony and ambiguity and striking the delicate balance of passion and profound intellectual thought, to finding new approaches to playing Shakespeare’s most controversial creation, Shylock, from The Merchant of Venice. A practical and essential guide, Playing Shakespeare will stand for years as the authoritative favorite among actors, scholars, teachers, and students. |
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... example , became the spontaneous , almost des- perately improvised attempt by a young leader to hold the morale of his men together as they stared at inevitable defeat ; and instead of there being any sense that the actor was delivering ...
... example , became the spontaneous , almost des- perately improvised attempt by a young leader to hold the morale of his men together as they stared at inevitable defeat ; and instead of there being any sense that the actor was delivering ...
Halaman 8
... examples of game beats in the opening scene of King Lear . The game Lear wishes to play with his daughters , which might be called ' benevolent father and loving chil- dren ' leads us to a model of the transactions needed to play it suc ...
... examples of game beats in the opening scene of King Lear . The game Lear wishes to play with his daughters , which might be called ' benevolent father and loving chil- dren ' leads us to a model of the transactions needed to play it suc ...
Halaman 10
... example . Give us the opening line of The Merchant of Venice . Ian McKellen : " In sooth I know not why I am so sad . " Now that simple line can be said in an infinite number of ways . On the one hand you could go for the mood and the ...
... example . Give us the opening line of The Merchant of Venice . Ian McKellen : " In sooth I know not why I am so sad . " Now that simple line can be said in an infinite number of ways . On the one hand you could go for the mood and the ...
Halaman 11
... example takes us , I think , to the heart of our modern acting tradition : relationships , character , intentions . So don't let us lose touch with that because we'll keep coming back to it . But what about the Elizabethan theater ? We ...
... example takes us , I think , to the heart of our modern acting tradition : relationships , character , intentions . So don't let us lose touch with that because we'll keep coming back to it . But what about the Elizabethan theater ? We ...
Halaman 14
... example of literary , Eliz- abethan prose , not from a play but typical of its author , John Lyly , who was also a ... examples of famous texts . Yet in Shakespeare our traditions , both the modern and the Elizabethan , come together . I ...
... example of literary , Eliz- abethan prose , not from a play but typical of its author , John Lyly , who was also a ... examples of famous texts . Yet in Shakespeare our traditions , both the modern and the Elizabethan , come together . I ...
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27 | |
Language and CharacterMaking the Words Ones Own | 56 |
Using the ProseWhy Does Shakespeare Use Prose? | 83 |
S Set Speeches and Soliloquies Taking the Audience with You | 106 |
Using the SonnetsGoing Over Some Old Ground | 128 |
Subjective Things | 147 |
Irony and AmbiguityText That Isnt What It Seems | 149 |
Passion and CoolnessA Question of Balance | 167 |
Rehearsing the TextOrsino and Viola | 188 |
Exploring a CharacterPlaying Shylock | 211 |
Contemporary ShakespeareA Discussion | 227 |
Poetry and Hidden PoetryThree Kinds of Failure | 243 |
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Istilah dan frasa umum
actor actually Alan Howard ambiguity antitheses Antonio audience Barbara Leigh-Hunt believe Ben Kingsley blank verse Brutus Caesar character COSTARD course Cressida David Suchet de-dum death Desdemona director Donald Sinden dost doth Elizabethan EMILIA emotional example FALSTAFF feel FESTE give Hamlet happens hath heightened language Henry honour Ian McKellen intention irony Jane Lapotaire Judi Dench King Kingsley Lisa Harrow listen look mean Merchant of Venice Michael Pennington Mike Gwilym naturalistic Norman Rodway once ORSINO Othello passage passion Patrick Stewart pause Peggy Ashcroft perhaps Playing Shakespeare poetic poetry PORTIA prose rehearsal rhythm Richard Pasco Roger Rees scene sense Shake Shakespeare's text Sheila Hancock Shylock soliloquy sonnet sooth I know sounds speak speare speech strong stresses talking tell theater thee there's thing thou thought Tony Church Troilus verse line verse-line VIOLA words